Call to participate for max 30 people: Master students, PhD graduates and researchers from different disciplinary backgrounds, artists, activists, professionals in NGOs/third sector and cultural organizations, administrators and policy makers.
About the Summer School The summer school offers an interdisciplinary course on international migration, performing arts and public space. The aim of the Summer School is to discuss theoretical frameworks, methodologies and artistic practices focused on the role of performing arts in becoming spaces of resistance, activism and creative intervention in the public space about migration and diversity. Involving world-wide scholars, artists, institutions and collective experiences, the course will offer an overview on the role played by performing arts in developing alternative imageries on migration, spaces of urban participation, collective memory and aesthetics of subversion. Classroom lessons, lessons, good practices presentations, artistic performances, roundtables, open lectures, classroom project works and field works/visits will be offered in this 5-day intensive summer school, for a full-immersion on how creativity and intercultural exchange can sustain more welcoming and inclusive cities.
The classes will be held in English.
Tuition Fees 150 euro, which includes the access to the summer school program + 5 lunches and the welcome cocktail. In specific cases, grants will be available to cover the fee of the summer school, lunches and accommodation.
How to apply Send your CV and a motivation letter (max. 300 words) to: info@atlasoftransitions.euSpecify if you apply for a grant.
The deadline for submitting applications is 29 February 2020. Participants will be informed of acceptance by 22 March 2020.
photo courtesy: Enrico De Stavola from the performance “Unleashing Ghosts from Urban Darkness” by Alessandro Carboni“
Naures Atto
(University of Cambridge), Paola Barretta (Associazione Carta di Roma –
Osservatorio di Pavia), Nadia Bellardi (Community
Media Forum Europe), Nico Carpentier (Charles University – Prague), Sabine Hess
(University of Goettingen), Judith Keilbach (Utrecht University), Pierluigi
Musarò (Alma Mater Università degli studi di Bologna), Tim Prentki (University
of Winchester), Guglielmo Schininà (IOM – UN migration).
Confirmed Keynote Speakers:
Naures Atto,
University of Cambridge
Laura Corrado, Legal Migration
and Integration Unit in DG HOME – European Commission
In the context of the
migrant and refugee crisis, the EU Member States and the European Union itself
have recently demonstrated sensitivity toward exploring the ways in which media,
the arts and performative practices are able to both facilitate intercultural
dialogue among migrant and host communities – thereby empowering their
participation in social life –, and to promote cultural diversity (different
ethnic, cultural, religious and linguistic backgrounds and heritage) within European
societies. Indeed, different “liberal” and “applied” arts (film, theatre &
performance, photography, crafts, architecture, design, etc.) as well as emerging
cross-media forms (interactive and social media, games, street art, circus and
performative practices, etc.), have a pivotal role to play in this direction. In
a nutshell, “artistic and cultural expressions can help us to communicate with
each other, in an immediate manner, and allow us to understand our similarities
as well our differences, in an area where we must also resolve disputes “ (Report
How culture and the arts can promote intercultural
dialogue in the context of the migratory and refugee crisis, 2017, p. 10).
Despite this high potential for opening new perspectives on EU societies
based on integration and a willingness to engage in dialogue, these guidelines seem
mostly unexplored and little discussed within the academic communities –
primarily focused on the current regime of representation of migrant
people and newcomers. Moreover, it can hardly be disregarded that
a practical implementation of these guidelines faces many difficulties: national cultural policies affect cultural productions by
institutionalizing the process of othering through rhetorical discourses and
hegemonic representations; the projects and practices in this field are often
vital but fragmented and poorly reciprocally connected (also due to their strong
roots in specific areas and territories); the skills and professional figures
associated with these processes are poorly defined and have no particular
training centres; and finally, the evaluation methods of the initiatives are
different and lacking consolidated protocols. The combination of all these
factors produces a fundamental weakness in a sector that in any case, remains
extremely lively and promising.
On this basis, and within the framework of a research program that the UCSC’s Department of Communication Sciences and Performing Arts has been developing over the last two years (Migrations / Mediations. Media and performative arts as tools for the intercultural dialogue: https://www.migrations-mediations.com/), this International Conference intends to gather academic and independent researchers, artists, cultural providers, public and private funders, and policymakers – both at a local and at an international level – with the aims to:
Reflect on the role of media, arts and culture in the management of policies devoted to migration phenomena, also on the basis of an exchange of best and worst practices;
Focus on the ways and the degrees in which media, arts and culture have been considered as critical tools for intercultural dialogue by policymakers, at different levels (local, national, European).
Draw attention to the ways through which artists and cultural providers can create and develop models of action in territories oriented toward bringing host populations into contact with migrants and refugees, as well as to empower newcomers themselves by offering a space for dialogue and a basis for voice-attaining and self-organising;
Empower the professional figure of the cultural provider in contexts of intercultural and shifting societies, by defining its skills, methods of work, and formation paths.
Develop a specific set of tools and a methodology to assess the social, cultural and economic impact of intercultural dialogue activities through arts, media and culture. Along with quantitative indicators of success, such as counting audiences reached or scoring intercultural stakeholders included in the action, it is worthwhile to elaborate new models of evaluation for the measurement and assessment of the efficiency and effectiveness of such projects.
On these
bases, we invite abstracts on any of the following topics.*
Practices of
empowerment of intercultural dialogue through media, arts and performative
activities.
Networks (formal and
informal) with publicly-funded cultural organizations, civil society and other
stakeholders.
Employment
opportunities for migrants in cultural and creative industries.
Comparisons between
the approaches of public and private media.
The role of
immigrant/diaspora/minority media.
Participatory media
and arts projects devoted to working directly with refugee and migrant groups
in socially engaged practice.
Audience development
strategies aiming at promoting cultural diversity.
Practices and
experiences in assessing projects in the field of intercultural dialogue
Fundraising creative
projects to support intercultural dialogue and migrants
The formation of
cultural providers and the role of intercultural dialogue professionals in
supporting cultural and artistic projects for the integration of refugees and
migrants.
* Please note,
this is not an exhaustive list of topics, and we will review any abstracts
related to the media and migration/immigration/multiculturalism and related
topics. Especially welcome are submissions rooted in media studies, visual,
performative and cultural studies, critical data studies, postcolonial studies
and from scholars who build bridges between academia, policy, public and
private funding, media system, arts and public debate, and stakeholders’ networks.
The deadline for the submissions is 1 February 2020. Interested contributors should send a 300-500 word abstract and a short biographical note at the following e-mail address: migrations.mediations@unicatt.it. The accepted proposals will be notified by 15 February 2020. The languages of the conference are Italian and English (the latter is preferred).
Grazie alla collaborazione di decine di associazioni e operatori, il progetto di ricerca Migrazioni-Mediazioni. I media e la comunicazione come risorse per l’inclusione dei migranti realizzato dall’Università Cattolica del Sacro Cuore di Milano ha raggiunto un importante obiettivo: è online ed operativoil database “Archivio di Esperienze e Operatori” dedicato alla mappatura dei soggetti (associazioni, organizzazioni, fondazioni, compagnie teatrali, case di produzione ecc.) attivi sul territorio milanese e che si sono impegnati, in particolare a partire dal 2013, in progetti di integrazione in cui è stato previsto l’impiego di strumenti mediali, artistici, teatrali, culturali tra le attività rivolte ai migranti.
L’obiettivo del database è di offrire visibilità alle iniziative, creare networking e occasioni di confronto tra gli operatori, diventare un punto di riferimento per la comunicazione e consultazione dei progetti attivati.
Il gruppo di ricerca del progetto ha raccolto numerosi dati sul campione delle realtà finora monitorate e ha intenzione di proseguire questo lavoro, perfezionando e tenendo aggiornati i dati raccolti, oltre che allargare la ricerca verso altre realtà non ancora incluse nella mappatura.
Sarà cura del gruppo di ricerca procedere immediatamente alla
pubblicazione delle informazioni che riguardano le nuove realtà e le
esperienze segnalate o alla sostituzione e pubblicazione delle nuove
informazioni da parte di operatori già presenti nel database.
Per qualsiasi dubbio e informazioni, è possibile contattare i ricercatori all’indirizzo migrations.mediations@unicatt.it
THURSDAY 21 from 15.30 to 16.30 in Università Cattolica (room SA116 Schuster – Via Sant’Agnese, 2. Milano) Davide Enia open lesson, accompanied by the musician Giulio Brocchieri
The Open Lesson of DAVIDE ENIA, playwright interpreter and director of the show L’Abisso (with which he won the Maschere Award of the Teatro 2019 as best monologue performer) is part of the “Drammaturgie Performative” course of Prof. Laura Peja and it will be Thursday 21 November 2019 at 15.30 classroom SA 116 Schuster
The abyss taken from “Notes for a shipwreck” (Sellerio editore, Premio Mondello 2018) a show by and with Davide Enia music composed and performed by Giulio Barocchieri production Theater of Rome – National Theater, Biondo Theater of Palermo, Lost Academy / Romagna Theaters in collaboration with Arzo International Storytelling Festival organization Luca Marengo
“When I saw the first landing in Lampedusa I was with my father – writes Davide Enia -. Lots of boys and girls came. History was the one that was happening before our eyes. Over the years I have returned to the island, building an ongoing dialogue with direct witnesses: fishermen, Coast Guard personnel, residents, doctors, volunteers and divers “. Their words and, above all, their silences have become a story, a historical testimony and an existential path: “From the recording of their voices – continues Enia – fragments of painful and yet hopeful stories have emerged. Their words opened prospects and hid abysses ». The staging of Davide Enia fuses different theatrical registers and languages: the ancient songs of the fishermen, tuned along the routes between Sicily and Africa, and the Palermo cunto, on the melodies with more voices that intertwine to become prayers full of anger when the sea roars and in the nets, together with the fish, we find the bodies of men, women, children.
Enia is engaged in a long tour with the show, in these days on stage at the Piccolo Teatro in Milan (12-24 November)
Davide Enia Bio
In 2002 he wrote directs and interprets “Italia-Brasile 3 a 2” (Ubu special 2003 award).
In 2003 he won the Tondelli Award at the Riccione Prize with
«Scanna» which debuted with his directing, at the Venice Biennale in 2004.
In 2004 he writes, directs and interprets “Maggio ‘43”
(first prize for best show at the “Moldavian International Teatrul Unui
Actor”).
In 2005 he won the Hystrio Prize and the E.T.I Award as a
dramaturgical novelty. For RaiRadio2 he writes and interprets «Rembò». In 2006
he won the Vittorio Mezzogiorno award and the Gassman Award for best emerging
Italian talent.
In 2007 he writes, directs and interprets “I capitol dell’infanzia”.
The texts are published by Sellerio and Fandango.
In 2009 he won the Special Jury Prize at the Riccione Prize
with “Il cuoco”.
In 2012 he published his first novel, “Così in Terra”
(Baldini and Castoldi Dalai), translated into eighteen languages and
published all over the world.
In 2013 he was Writer in Residency (Nederlands Letterfonds
Dutch Foundation for Literature) in Amsterdam.
In 2014 he published the story along «Uomini e Pecore»
(EDT).
In 2015 he is Writer in Residency (Passaporta) in Brussels.
In 2016 with the French edition of “Così in Terra”,
“Sur cette terre comme au ciel” (Albin Michel) won the Prix du
Premier Roman Etranger and the Prix Brignoles as the best foreign novel of the
year.
In 2017, in April, he directed “L’oca del Cairo”,
an incomplete work by Mozart, at the Teatro Massimo in Palermo. In May he
publishes his second novel, “Appunti per un naufragio” (Sellerio).
In 2017 he wins the Anima Prize for Social.
In 2018 he won the Mondello Award in the Italian Opera
Section.
In October 2018 he will return to the theater with the opera “L’abisso” at the Teatro India in Rome.
With “L’Abisso” Davide Enia won the 2019 Theater Masks Award for Best Performer of Monologue
“An encounter between generations, between genders, between different cultures, each with its crises, efforts, hopes for the family. It is the beginning of a dialogue that has never stopped”. A book of Chiara Giaccardi and Peter Nondi.
MUDEC – Spazio delle Culture – Khaled al-Asaad 6-8 PM Via Tortona, 56 – Milano
“Playing Inclusion. The Performing Arts in the Time of Migrations: Thinking, Creating and Acting Inclusion is a collection of essays written by theatrologists, sociologists, psychologists, artists, performers, social theatre experts and facilitators, who describe and analyse with their different points of view and methodologies some experiences where performative arts and practices enact reflexive, creative and active processes aimed at taking care of the complex migratory phenomenon”.
To emigrate is to leave, to immigrate is to arrive and stay, to migrate is to move, often as a result of forced displacement. Most emigrants, immigrants, migrants and/or refugees frequently face difficult, if not heartbreaking decisions when they decide they must settle elsewhere. According to the latest UNHCR estimates, 65.6 million people have been forcibly displaced worldwide by war, poverty, and/or climate change. Many live(d) in refugee/migrant camps where they often face(d) inhumane conditions, discrimination, violence, and racism, while others spend/spent most of their lives in transit camps.
We are inviting scholars and artists to reflect on the im/migrant experience and examine the perspective of the displaced as illustrated/expressed in literatures and/or the arts. Selected contributions will be published by The Small Walker Press, Centre for Studies in Arts and Culture, Marilyn I. Walker School of Fine and Performing Arts in the form of an e-book (https://brocku.ca/miwsfpa/stac/small-walker-press-publications-2019-20/ ).
To submit an article, please follow the guidelines below and send it to Catherine Parayre (cparayre@brocku.ca) and Tamara El-Hoss (telhoss@brocku.ca) by August 31, 2019.
Small Walker Press
Submissions will be peer-reviewed. Accepted articles are scheduled to be published in early 2020.
Guidelines:
-15 to 20 pages (doubled-spaced), Times New Roman 12, WORD document.
-MLA format.
-Notes: at the end of the document.
-Bibliographical references: in the list of Works Cited (not in notes).
-Language: English or French.
-Quotations in languages other than the one used in the article: translated into the language of the article in the text and original text in a note at the end of the document.
-Images: authors must provide a permission of reproduction from the copyright holders by
September 30, 2019. No image will be reproduced without written permission.
Concordia University in Montreal, Quebec, invites applications for an Emerging (Tier 2) Canada Research Chair (CRC) in Media and Migration within the Film and Moving Image Studies program. The goal of the CRC program is to ensure that Canadian universities “achieve the highest levels of research excellence to become world-class research centres in the global, knowledge-based economy.”
We are seeking an emerging Canadian or international scholar demonstrating promising and innovative investigations into the relation between transnational, migratory and diasporic movements and the media forms and infrastructures in their contemporary or historical dimensions, broadly defined. Candidates eligible for Tier II chair positions must be exceptional emerging scholars within 10 years of their highest degree at the time of nomination (exclusive of career interruptions). Candidates are encouraged to share any career interruptions or personal circumstances that may have had an impact on their career goals, such as the decision to have a family, eldercare, illness, and so forth, in their letter of application. Please consult the Canada Research Chairs website for full program information, including further details on eligibility criteria.
Possible
areas of specialization may include (but are not limited to): the technological,
aesthetic, social and cultural dynamics of moving images across media and in global
circulation; artistic, experimental, and other oppositional media practices that
respond to and represent the intensification of migratory trends (both forced
and voluntary); the multiplicity of narratives of migration and ideas about the
migrant represented in film and media; labor migration and border-crossing
within film and media industries; the entanglements between border regimes and
media technologies of surveillance, tracking, and control; relationships
between media infrastructures, structures of distribution, and diasporic
formations; the mediation of migration patterns beyond South-North vectors;
analyses of the shifting terrains of postcolonial and postsocialist spaces and
infrastructures, the movement across them, and their articulations in and
through media.
Attention
to how questions of gender, race, ethnicity, indigeneity, sexuality, religion,
class, dis/ability or language intersect with and frame both the patterns and
predicaments of movement and the genres of mediation outlined above are
strongly encouraged. Accordingly, we particularly encourage applications from
underrepresented and minoritized scholars.
The
successful candidate will have an important record of innovative or diverse research
and publication (with at least one peer-reviewed journal article) and have
demonstrated an ability to foster collaborative initiatives in or outside the
university, secure appropriate funding, and mentor a diverse body of students.
The candidate will also be expected to take a leadership role in continuing to
build and expand the research culture of the department and university and its
graduate programs, and this with an eye to the multiplicity of forms of media
and migration around the globe.
The
successful candidate for the CRC in Media and Migration, who will have
obligatorily defended their PhD by June 30, 2020, will be appointed to the
School of Cinema at the rank of Assistant or Associate Professor and will be
expected to possess expertise in Film Studies with a view of also teaching
existing courses in the unit’s curricula. The candidate will work with the
Faculty of Fine Arts to prepare the formal CRC application according to CRC
program guidelines. The university will nominate the successful candidate to
the CRC Secretariat at the earliest opportunity according to the guidelines of
the CRC program.
Concordia
is located in one of North America’s most diverse, creative and livable cities.
The Mel Hoppenheim School of Cinema – Canada’s largest university-based centre
for the study of film animation, film production and film studies – has an
international reputation that continues to provide a benchmark for innovation
and quality. The School of Cinema’s Film Studies programs are in great demand
as a highly interdisciplinary domain of study situated within the globalization
of culture, knowledge and technology. A young PhD program, as well as a vibrant
MA in Film Studies, provide a rich context for advanced, critical study of the
moving image, as well as for innovative and sustainable research programs in a
variety of areas crucial to the rapidly changing field of film study.
A detailed five-year research plan,
appropriate to the goals and objectives of the CRC program, will be required of
all long-listed candidates, who will be contacted at the end of October. Short-listed candidates will be invited for
campus interviews in late November or early December.
Applications
should be submitted or postmarked on or before September 15, 2019 to:
Mailing
and courier address:
Dr.
Masha Salazkina
Re:
Canada Research Chair in Media and Migration – Film Studies
Mel
Hoppenheim School of Cinema, Concordia University
1455
De Maisonneuve Blvd. West, S-FB 319
Montreal,
Quebec, Canada H3G 1M8
Fax:
514-848-4255
Civic
address for in-person delivery:
Mel
Hoppenheim School of Cinema
Faubourg
(FB) Tower
Sir
George Williams Campus
1250
Guy Street, S-FB 319
Montreal,
Quebec, Canada H3H 2T4
All
inquiries regarding this position should be directed to:
Dr
Masha Salazkina, Search Committee Chair
Email:
masha.salazkina@concordia.ca
For
further information, applicants are encouraged to consult:
This
position, linked to the CRC appointment, will begin July 1, 2020. Review of
applications will begin immediately after the application deadline, and will
continue until the position is filled.
Persons
with disabilities who anticipate needing accommodations for any part of the
application process may contact, in confidence, Nadia Hardy, Vice-Provost,
Faculty Development and Inclusion at vpfdi@concordia.ca or by
phone at 514.848.2424 extension 4323.
Il 3 e 4 aprile 2019 alle ore 21.00, lo Spazio Teatro No’hma Teresa Pomodoro organizza lo spettacolo Eli Ohna – Land of the people della compagnia nigeriana Emage Dot Com Global Theatre, in occasione della X edizione del Premio Internazionale “Il Teatro Nudo” di Teresa Pomodoro.
Lo spettacolo ripercorre alcuni momenti della storia africana: protagonista Emage Dot Com Global Theatre, compagnia di attori Ikwerre, una delle venti etnie del Delta del Niger, la regione più ricca di riserve di gas e petrolio della Nigeria. La narrazione si interseca inevitabilmente con la storia recente: attraverso scene essenziali, scandite da danze e canti tradizionali, sei performers raccontano la ribellione dalla schiavitù e la trasformazione dell’area, un tempo fertile e piena di risorse, in luogo degradato, sfruttato e in rovina. Invocati, si materializzano sul palco grandi personalità della cultura africana, da Nelson Mandela, passando per Chinua Achebe, scrittore di etnia Igbo sino a Ken Saro Wiva, attivista e leader degli Ogoni, condannato a morte a seguito di un processo sommario: esortano il popolo (e il pubblico) a riconoscere la bellezza del patrimonio culturale africano e a ritrovare forza e speranza nell’emancipazione.
Mercoledì 3 e giovedì 4 aprile 2019 alle ore 21
Eli Ohna – Land of the people
Regia di
Ovunda Chikwe Ihunwo
Movimenti coreografici di
Sampson Kelvin Melvin
Arrangiamenti per la versione italiana di
Elisabetta Jankovic
Con
Edward Egbo Imo
Blessing Igweagu Ngozi
Diepreye Precious Omuku
Gloria Ada Ogbuka
Deinmoara Profit James
Mabel Clara Egede
Con la partecipazione di
Bennet Adele Worgu – re degli Ikwerre
Stella Nkechi Worgu – regina degli Ikwerre
Compagnia
Emage Dot Com Global Theatre
Ingresso gratuito su prenotazione fino ad esaurimento dei posti.
Il 7 marzo presso il DAMSLab di Bologna, il Dipartimento di Sociologia e Diritto dell’Economia dell’Università di Bologna in collaborazione con il Dipartimento delle Arti e Emilia Romagna Teatro Fondazione, organizza il convegno internazionale “A World in Transition. In-between Performing Arts and Migration“. Il Convegno “vede studiosi e artisti internazionali confrontarsi sui diversi linguaggi in grado di costruire immaginari e narrative alternative sulla migrazione, alimentare la definizione di strumenti scientifici trasversali, dare corso alla creazione di spazi simbolici e fisici in cui sì manifesta il carattere dinamico e produttivo della diversità”.
Al convegno ci saranno tra gli altri interventi di Ruggero Eugeni, Laura Peja, Roberta Carpani, Giulia Innocenti Malini, Martina Guerinoni, ricercatori del progetto “Migrations-Mediations“.
Credits: A World in Transition. In-between Performing Arts and Migration.
Qui il programma completo.
A World in Transition. In-between Performing Arts and Migration
Costruire ponti tra la ricerca teorica e le arti performative, oltre le mura del teatro e dei settori disciplinari, in un movimento di andata e ritorno tra dimensione locale e transnazionale. Mettendo in dialogo chi fa ricerca sul campo e chi opera attraverso pratiche performative, la conferenza A World in Transition. In-between Performing Arts and Migrationvede studiosi e artisti internazionali confrontarsi sui diversi linguaggi in grado di costruire immaginari e narrative alternative sulla migrazione, alimentare la definizione di strumenti scientifici trasversali, dare corso alla creazione di spazi simbolici e fisici in cui sì manifesta il carattere dinamico e produttivo della diversità. Alternando interventi teorici e performativi, la conferenza si divide tra una sezione plenaria mattutina, in cui verranno presentati alcuni progetti innovativi sul tema, e sei panel tematici di approfondimento.
Conference Programme
Morning Session
9.00-9.30 a.m.: Registration
9.30-10.15 Welcome Speech Mirko Degli Esposti, Vice- Rector of University of Bologna Marco Castrignanò, Head of Department of Sociology and Business Law (University of Bologna) Giacomo Manzoli, Head of Department of the Arts (University of Bologna) Claudio Longhi, Director of ERT (Emilia-Romagna Teatro Fondazione)Chair: Roberta Paltrinieri, Head of DAMSLab (University of Bologna)
10.15-11.30: Round Table “Performing Arts and Migration: projects at large” Piersandra di Matteo, Atlas of Transitions Ruggero Eugeni, Laura Peja, Migrations Mediations Katerina Antonaki, Alien Giulia Musumeci, Exoduses and Acting Together #WithRefugees Chair and discussant: Pierluigi Musarò (University of Bologna)
11.30-13.15: Parallel panels
PANEL A – PERFORMING ARTS AND INTERCULTURE Fernando Battista, Migrants Souls – Pedagogy of the Border Zheng Ningyuan, Liu Jing, Yan Wen, WUXU project Cristina Balma Tivola, Cultural Identity in Almateatro’s Discourse: Are the Times A-changing? Irene Gutierrez Torres, Participatory Filmmaking as a Performative Collective Practice of Self-representation and Dissidence Creation Chair: Elena Lamberti (University of Bologna)
PANEL B – INNOVATIVE METHODOLOGIES Marta Pachocka, Magdalena Proczek, Ewa Osuch-Rak, The Design Thinking Method in Solving Selected Problems in the Field of Migration and Refugee Studies Amanda Da Silva, The Art to Talk on Immigration: a State of Emergency Silvia Gasparotto, Marcello Ziliani, Out of the Storm. Design for Migration Kirsten Forkert, Janna Graham, Victoria Mponda, Gargi Bhattacharyya, Federico Oliveri, Refusing the Demand for Sad Stories Chair: Pierluigi Musarò (University of Bologna)
13.15-14.30: Lunch Break
14.30-16.00: Parallel panels
PANEL C – SOCIAL AND POLITICAL ROLE OF PERFORMING ARTS Jonas Vanderschueren, Towards an Emancipatory Space in Theatre Antonella Pulice, How Theatre Can Change Our Perception of Being: Being Human and Being in a Place Nela Milic, Embodied Narrative Maria Luisa Parisi, Political Role of Performing Arts Chair: Laura Gemini (University of Urbino)
PANEL D – BETWEEN ARTS AND RESEARCH: FOR A KNOWLEDGE CO-CONSTRUCTION Agnese Cornelio, Free to Work Emilie Da Lage, Morgane Marqué, Lena Pasqualini, Marie Glon, Béatrice Micheau, Towards a Policy of Refuge. Kamila Fialkowska, Olga Cojocaru, Anna Rosińska, On the Migrants or with the Migrants? De-bordering in a Bordered World Alessandro Carboni, Unleashing Ghosts from Urban Darkness Chair: Melissa Moralli (University of Bologna)
16.00-16.15: Coffee Break
16.15-17.45: Parallel panels
PANEL E – IDENTITY AND REPRESENTATIONS Giulia Grechi, As Far As My Fingertips Take Me. Colonial Hauntology, Embodied Representations Anna Serlenga, #COMMONS – CARTOGRAPHY OF DESIRE. Participatory Performative Arts as a Tool of Political Change ZimmerFrei, Homeland Tales Guerinoni Martina, Art or Rite? The Female Performativity in the Foreigners’ Organizations of Forum Città Mondo, Milan Chair: Paola Parmiggiani (University of Bologna)
PANEL F – ARTS AND SOCIAL INCLUSION Giulia Allegrini, Reframing and Questioning Solidarity, Citizenship and Cultural Production Process Agapi Kandylaki, Maria Malamidou, The Power of Theatre for the Unaccompanied Minors’ Social Inclusion Roberta Carpani, Giulia Innocenti Malini, Playing Inclusion. A Comparative Analysis of Theatrical Performative Practices. Valentina Musmeci, The Vibrant Silk: The Butterfly Effect. Chair: Annalisa Frisina (University of Padova)
During the conference, the collective 181-1 (Jakub Adamczyk, Magdalena Drąka, Tomasz W. Miśtura) will invite the audience to perform “Interrogation”. Information available at the registration desk.
